More than Night: Film Noir in Its ContextsUniversity of California Press, 14 de jan. de 2008 - 408 páginas "Film noir" evokes memories of stylish, cynical, black-and-white movies from the 1940s and '50s—melodramas about private eyes, femmes fatales, criminal gangs, and lovers on the run. James Naremore's prize-winning book discusses these pictures, but also shows that the central term is more complex and paradoxical than we realize. It treats noir as a term in criticism, as an expression of artistic modernism, as a symptom of Hollywood censorship and politics, as a market strategy, as an evolving style, and as an idea that circulates through all the media. This new and expanded edition of More Than Night contains an additional chapter on film noir in the twenty-first century. |
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Página 3
... narrative that depicts the hero as a heel). I was equally affected by first-run showings of The Wrong Man (a true story about an innocent man accused of a crime), End as a Man (a frightening portrait of a charismatic young sadist in a ...
... narrative that depicts the hero as a heel). I was equally affected by first-run showings of The Wrong Man (a true story about an innocent man accused of a crime), End as a Man (a frightening portrait of a charismatic young sadist in a ...
Página 7
... narrative traits. I am interested in the way several of these traits have been used to support an ongoing tradition of neo-noir, and Ihave analyzed the problem under two of its aspects: first, the historical shift from an industry ...
... narrative traits. I am interested in the way several of these traits have been used to support an ongoing tradition of neo-noir, and Ihave analyzed the problem under two of its aspects: first, the historical shift from an industry ...
Página 9
... narrative traits, including low-key photography, images of wet city streets, pop-Freudian characterizations, and romantic fascination with femmes fatales. Some commentators localize these traits in the period between 1941 and 1958 ...
... narrative traits, including low-key photography, images of wet city streets, pop-Freudian characterizations, and romantic fascination with femmes fatales. Some commentators localize these traits in the period between 1941 and 1958 ...
Página 10
... narratives or happy endings. Little wonder that no writer has been able to find the category's necessary and sufficient characteristics and that many generalizations in the critical literature are open to question. If noir is American ...
... narratives or happy endings. Little wonder that no writer has been able to find the category's necessary and sufficient characteristics and that many generalizations in the critical literature are open to question. If noir is American ...
Página 16
... narration and flashbacks that fragmented the story, producing a montage. Frank claimed that Sacha Guitry had been the first to use this technique, in Le roman d'un tricheur (1936), but he wondered whether or not Hollywood had outclassed ...
... narration and flashbacks that fragmented the story, producing a montage. Frank claimed that Sacha Guitry had been the first to use this technique, in Le roman d'un tricheur (1936), but he wondered whether or not Hollywood had outclassed ...
Conteúdo
1 | |
9 | |
40 | |
CENSORSHIP AND POLITICS | 96 |
BUDGETS AND CRITICAL DISCRIMINATION | 136 |
STYLES OF NOIR | 167 |
6 THE OTHER SIDE OF THE STREET | 220 |
7 THE NOIR MEDIASCAPE | 254 |
8 NOIR IN THE TWENTYFIRST CENTURY | 278 |
NOTES | 311 |
BIBLIOGRAPHY | 343 |
INDEX | 355 |
Film and Broadcast Index | 379 |
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